Wooden box for medicines. Toba Batak. Sumatra. Bamboo, wood and hair. Cylindrica…

Description

Wooden box for medicines. Toba Batak. Sumatra. Bamboo, wood and hair. Cylindrical shape with incised decoration of decorative fretwork, lizards and a lid with a knob in the shape of a seated anthropomorphic figurine. 20th century. 52cm high

905

Wooden box for medicines. Toba Batak. Sumatra. Bamboo, wood and hair. Cylindrical shape with incised decoration of decorative fretwork, lizards and a lid with a knob in the shape of a seated anthropomorphic figurine. 20th century. 52cm high

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Estim. 180 - 270 EUR

Two Pustaha Sumatra, probably 19th century, ink on tree bast, leporello oracle books written in the ritual language of the Batak, composed by the magic priests known as Datu/Guru, solid wood bindings, strong traces of age, dimensions 17 x 10 and 16 x 16 cm.

Estim. 5 000 - 6 000 EUR

PIERRE JEANNERET (Geneva, 1896-1967). Box Chair or model PJ-SI-53A, 1960. Frame in solid Indian teak. Cane seat and back. Numbered. Measurements: 75 x 51 x 51 cm. The Box Chair was also known as the "Office Chair with Cane Seat and Cane Back" when it was part of the furniture at Panjab University in Chandigarh around 1960. Its name was due to the distinguishing feature of this design is the set of asymmetrical double box style legs that also serve as armrests and bases. It is worth noting that the backrest is slightly inclined and curved is separate from the seat. Born in Geneva in 1896, Pierre Jeanneret studied at the Ecole des Beaux-Arts. In 1922, he began working in his new workshop in rue de Sèvres, Paris, with his cousin, fellow designer Le Corbusier, with whom he shared research projects and design criteria thanks to a deep professional relationship. In October 1927, the two decided to incorporate into their project a young architect who had already begun to make a name for herself on the architectural scene of the time: Charlotte Perriand. The collaboration of the three personalities lasted until 1937 and was extremely fruitful, especially in the field of furniture design. It was a very significant cooperation, both in terms of the cultural interest of their achievements and in terms of professional success. It was together with Charlotte Perriand that they tackled the innovative project for "l'équipement de la maison", the result of which was of great intellectual value and considerable commercial success. In 1951, Le Corbusier suggested a new project to celebrate India's independence and the opening of the nation to modernity, which consisted in the design of a city, Chandigarh, the capital of Punjab. Chandigarh, in northern India, is a city built from nothing. Designed by Le Corbusier, it was born as an icon of freedom from the colonialism of the past. Pierre Jeanneret is considered - despite the absence of documentation to prove it - the author of most of Chandigarh's furniture. The result is universally known designs, made with respect for the techniques used in the original products, manufactured in India by local craftsmen. Pierre Jeanneret's experience in India lasted until the end of his days in 1967 and his close and continuous contact with the local territory led his furniture to incorporate essential forms with simple materials. Today, Jeanneret's work can be found in museums such as the Museum of Modern Art (MoMA), the Vitra Designs Museum, the Museum Boijmans van Beuningen, the Museum for Gestaktung Zurich, the Museums of India and the Perre Jeanneret Museum.

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